Faced with delayed publication schedules and low submission rates, they not only sought to update the journal but also to redesign its structure and focus, aligning it with the decolonial ideals highlighted by the 2015–2016 #FeesMustFall movement.

This approach allowed the journal to include a broader range of material, from traditional academic articles to visual art and fiction, and sought to break down distinctions between peer-reviewed and non-peer-reviewed content.

[7] In response to the #FeesMustFall movement’s calls for decolonisation, Froneman and Muller aimed to make SAMUS a platform for addressing social justice and transformation, viewing this as a decolonial imperative.

Their editorials critically reflected on the state of music studies, touching on themes like disciplinary crises, scholarship ethics, and the influence of student activism.

Their efforts to democratize the journal and amplify local voices significantly enhanced SAMUS’s role in transforming South African music studies.